Πρόσφατα άρθρα

Theatricality, didacticism, prosaic verse, use of persons as symbols, contemplative mood, flashbacks are some of Cavafy’s recurring ‘tropes’. Discuss.

Within the vast poetry collection of Constantine Cavafy, arguably, a pattern of recurring tropes emerges, offering the readers an in depth understanding of what defines his artistry. The poems that I have chosen for this essay being Young Men of Sidon, Alexandrian Kings and Kaisarion, from his book The Collected poems. One might say that they serve as an example of Cavafy’s gravitation towards an array of literary devices such as theatricality, didacticism, prosaic verse, use of persons as symbols, contemplative mood and flashbacks, one might say that they create a narrative that extends beyond the individual poems, inviting us to explore the timeless themes captured by Cavafy.

Συνέχεια

Theatricality, didacticism, prosaic verse, use of persons as symbols, contemplative mood, flashbacks are some of Cavafy’s recurring ‘tropes’. Discuss.

Poetics and Histories: To What Extent Did C. P. Cavafy Alter Historical Narratives, and for What Artistic Purposes?

stuident Name: Joseph Watson Module Lecturer: Dr Dimitra Tzanidaki-Kreps Date of Submission: 11/01/2016

Συνέχεια

Poetics and Histories: To What Extent Did C. P. Cavafy Alter Historical Narratives, and for What Artistic Purposes?

How does Seferis’ mythical method interact with Greece’s lasting socio-political issues?

Seferis uses the mythical method in his poetry to allude to and comment upon social and political issues in Greece in his lifetime. Before discussing his poetry, it is important to define what is meant by Seferis’ mythical method. This method can be described as allusive, as although Seferis does make direct references to myth he does so in inventive ways, for example by using narrative space, symbols and characters to evoke Greek myths.

Συνέχεια

How does Seferis’ mythical method interact with Greece’s lasting socio-political issues?

Hyperion or the hermit in Greece

Concept, dramaturgy and performance by Dimitra Kreps

Συνέχεια

Hyperion or the hermit in Greece

ἐξ ἐρίων δὴ καὶ κλωστήρων καὶ ἀτράκτων

This essay examines that metaphor in the context of the political and war situation at the time Lysistrata was first performed. It considers traditional gender roles in the fifth-century Greek polis and Lysistrata’s inversion of those roles in her weaving analogy. Aristophanes’ comedic purpose in the weaving speech, in Lysistrata as a whole, and more generally across his corpus is examined. In addition, some observations are made about the sound pattern of Lysistrata’s speech and, in a personal argument, a speculative suggestion is advanced that the audience might have associated her cadences with the familiar rhythms of a domestic weaving loom.

Συνέχεια

ἐξ ἐρίων δὴ καὶ κλωστήρων καὶ ἀτράκτων

In Ritsos’ Moonlight Sonata what sentiments does the woman’s confession provoke/inspire to you and how these compare to the ones felt by the young man who remains silent throughout her long monologue.

Yannis Ritsos' "Moonlight Sonata" is a poignant and emotionally charged poem that presents a deeply intimate monologue of a woman speaking to a silent young man. The setting is night, with the moonlight casting a dreamlike atmosphere over the scene. The woman's confession, filled with personal revelations, memories, and emotions, evokes a variety of sentiments in the reader and provokes a complex response.

Συνέχεια

In Ritsos’ Moonlight Sonata what sentiments does the woman’s confession provoke/inspire to you and how these compare to the ones felt by the young man who remains silent throughout her long monologue.

Discuss the portrayal and effects of loss in the poetry of Cavafy

My Mother's Sin and Other Stories A series of lectures on Modern Greek literature taught by Dr Dimitra Tzanidaki-Kreps This is a first class essay of one of my students, Jenny Wight, who took my course this year writing beautifully on the effects of loss in Cavafy's poetry.

Συνέχεια

Discuss the portrayal and effects of loss in the poetry of Cavafy

Discuss the portrayal and effects of loss in the poetry of Cavafy

My Mother's Sin and Other Stories A series of lectures on Modern Greek literature taught by Dr Dimitra Tzanidaki-Kreps This is a first class essay of one of my students, Jenny Wight, who took my course this year writing beautifully on the effects of loss in Cavafy's poetry.

Συνέχεια

Discuss the portrayal and effects of loss in the poetry of Cavafy

The form of Dramatic Monologue as perfected by Ritsos’ poetry.

Yannis Ritsos is widely regarded as one of the most significant figures in contemporary Greek poetry. He managed to revolutionise the idea of a dramatic monologue and create not just beautiful poetry, but also a multifaceted art form that has depth on psychological, social, and philosophical levels throughout all of his publications. The dramatic monologue form was popularised by Victorian poets such as Robert Browning, but Ritsos revitalised it and many poets to this day still use his style as inspiration. His ability to construct identities and characters that the reader can genuinely sense and almost experience is skilful.

Συνέχεια

The form of Dramatic Monologue as perfected by Ritsos’ poetry.

«Examine how homoerotic love is expressed in Cavafy’s erotic poetry» By Yousuf Danawi, Reading University

This essay aims to examine the manner in which homoerotic love is expressed in Constantine Peter Cavafy’s erotic poetry.Initially, it will provide a brief introduction entailing contextual information. Subsequently, this essay will bestow an intricate analysis of his erotic poems, with a particular focus on elucidating recurrent themes pertaining tohomoerotic love. The analysis will explore both the formal and thematic constituents of Cavafy’s erotic poetry, accompanied by a pervading extraction of deeper meaning.This examination will be enhanced utilising relevant secondary literature. The primary source that consists of the poems to be discussed in this essay derives from a digital anthology that comprises Cavafy’s ‘Recognised’, ‘Denounced’, and ‘Hidden’ poems

Συνέχεια

«Examine how homoerotic love is expressed in Cavafy’s erotic poetry» By Yousuf Danawi, Reading University
Υποβλήθηκε από joanna την Τετ, 2009-11-11 13:34.

Για την επέτειο της 17ης Νοεμβρίου (Π. Βλαχόπουλος)

Σχεδιάζω να κάνω ένα μάθημα με αφορμή την επέτειο της 17ης Νοεμβρίου. Θα ζητήσω από τους φοιτητές μου να συμπληρώσουν τα κενά, αφού ακούσουμε δύο φορές τα τραγούδια και στη συνέχεια, πριν δώσω τη μετάφραση, θα προσπαθήσουμε να αναφερθούμε στη σημασία των τραγουδιών και να επεκταθούμε στα γεγονότα της επετείου.
Πάνος Βλαχόπουλος

Fill in the Gaps:

ΕΝΑ το χελιδόνι

 

ΕΝΑ το χελιδόνι * κι η …………….ακριβή

Για να γυρίσει ...* θέλει

δουλειά πολλή

Θέλει

νεκροί .... * να 'ναι στους Τροχούς

Θέλει κι οι ζωντανοί * να.....

το αίμα τους

Θέ μου Πρωτομάστορα * μ' έχτισες μέσα στα

....

Θέ μου Πρωτομάστορα * μ' έκλεισες μες στη

..

Πάρθηκεν από Μάγους * το ..... του Μαγιού

Το

'χουνε θάψει σ' ένα * μνήμα του πέλαγου

Σ' ένα βαθύ πηγάδι * το 'χουνε .........

 Μύρισε το σκοτάδι * κι όλη η Άβυσσο

 Θέ

μου Πρωτομάστορα * μέσα στις πασχαλιές Και Συ

 Θέ

μου Πρωτομάστορα * μύρισες την Ανάσταση!

 

 

 

ΤΗΣ ΔΙΚΑΙΟΣΥΝΗΣ ήλιε νοητέ

 

ΤΗΣ ΔΙΚΑΙΟΣΥΝΗΣ ήλιε νοητέ *

και μυρσίνη συ δοξαστική μη

παρακαλώ σας μη *

λησμονάτε τη χώρα μου!

 

Αετόμορφα

έχει τα (1).......

(2)................

*

 στα ηφαίστεια κλήματα σειρά και τα

........πιο λευκά *

 στου γλαυκού το γειτόνεμα! Τα πικρά μου

....... με τον Κεραυνό *

τα

γυρίζω πίσω απ' τον .......τους παλιούς ......... καλώ *

με φοβέρες και μ' αίματα!

Της Δικαιοσύνης ήλιε νοητέ *

και μυρσίνη συ δοξαστική μη

παρακαλώ σας μη *

 λησμονάτε τη χώρα μου!

br>

Ένα το Χελιδόνι:

 

A solitary swallow

 

A solitary

swallow and a costly spring,

For the sun to turn it takes a job of work,

It takes a thousand dead sweating at the Wheels,

It takes the living also giving up their blood.


God my Master Builder, You built me into the mountains,

God my Master Builder, You enclose me in the sea!


Magicians carried off the body of May,

They buried the body in a tomb of the sea,

They sealed it up in a deep well,

Its scent fills the darkness and all the Abyss.


God my Master Builder, You too among the Easter lilacs,

God my Master Builder, You felt the scent of Resurrection!


 




THE AXION ESTI
Odysseus Elytis

width=68 height=96

src="graphics/elitis.jpg" align=left hspace=10 vspace=5

alt="Odysseus Elytis">

 

 

 

"The Axion Esti [is] the work on which Elytis's

reputation rests, and which almost certainly won him the Nobel Prize."

--New York Review of Books

The Axion Esti is probably the

most widely read volume of verse to have appeared in Greece since World

War II

and remains a classic today. Those who follow the music of Greek

composer Mikis

Theodorakis have been especially drawn to Odysseus Elytis's work, his

prose is

widely considered a mirror to the revolutionary music of Theodorakis. The

"autobiographical" elements are constantly colored by allusion

to the

history of Greece, thus, the poems express a contemporary consciousness

fully

resonant with those echoes of the past that have served most to shape the

modern Greek experience.

 

ΕΝΑ το χελιδόνι

 

ΕΝΑ το χελιδόνι *

κι η Άνοιξη ακριβή

Για να γυρίσει ο

ήλιος * θέλει δουλειά πολλή

Θέλει νεκροί

χιλιάδες * να 'ναι στους Τροχούς

Θέλει κι οι

ζωντανοί * να δίνουν το αίμα τους

Θέ μου

Πρωτομάστορα * μ' έχτισες μέσα στα βουνά

Θέ μου Πρωτομάστορα

* μ' έκλεισες μες στη θάλασσα!

Πάρθηκεν από

Μάγους * το σώμα του Μαγιού

Το 'χουνε θάψει

σ' ένα * μνήμα του πέλαγου

Σ' ένα βαθύ

πηγάδι * το 'χουνε κλειστό

 Μύρισε το

σκοτάδι * κι όλη η Άβυσσο

 Θέ μου

Πρωτομάστορα * μέσα στις πασχαλιές Και Συ

 Θέ μου Πρωτομάστορα

* μύρισες την Ανάσταση!

 

 

ΤΗΣ ΔΙΚΑΙΟΣΥΝΗΣ ήλιε νοητέ

 

ΤΗΣ ΔΙΚΑΙΟΣΥΝΗΣ ήλιε νοητέ *

και μυρσίνη συ δοξαστική μη παρακαλώ σας μη *

λησμονάτε τη χώρα μου!

 

Αετόμορφα έχει τα ψηλά βουνά *

 στα ηφαίστεια

κλήματα σειρά και τα σπίτια πιο λευκά *

 στου γλαυκού το

γειτόνεμα! Τα πικρά μου χέρια με τον Κεραυνό *

τα γυρίζω πίσω απ' τον Καιρό τους παλιούς φίλους καλώ *

με φοβέρες και μ' αίματα!

 

 

Της Δικαιοσύνης ήλιε νοητέ *

και μυρσίνη συ δοξαστική μη παρακαλώ σας μη *

 λησμονάτε τη

χώρα μου!

© 2012 Κέντρο Ελληνικής Γλώσσας - Πύλη για την Ελληνική Γλώσσα